LP-686

The Ramsey Lewis Trio - Never On Sunday

Released 1961

Recording and Session Information

Ramsey Lewis Trio
Ramsey Lewis, piano; Eldee Young, bass; Redd Holt, drums
Chicago, August 10 & 11, 1961

11138 The ripper
11139 I got plenty o' nuttin'
11140 Water boy
11141 Thanks for the memory
11142 Cielito lindo
11143 You just don't care
11144 Never on Sunday
11145 You've changed
11146 The breeze and I
11147 Exactly like you

Track Listing

The Ripper	Ramsey Lewis	August 10 & 11 1961
I Got Plenty Of Nothing	Gershwin, Gershwin	August 10 & 11 1961
Waterboy	Arranged By – Ramsey Lewis	August 10 & 11 1961
Thanks For The Memory	Robin, Rainger	August 10 & 11 1961
Ceilito Lindo	Arranged By – Isaac Holt	August 10 & 11 1961
You Just Don't Care	El Dee Young	August 10 & 11 1961
Never On Sunday	Hadjaidakis	August 10 & 11 1961
You've Changed	Carey, Fischer	August 10 & 11 1961
The Breeze And I	Stillman, Lecuona	August 10 & 11 1961
Exactly Like You	Fields, McHugh	August 10 & 11 1961

Liner Notes

THERE are two kinds of music listeners in the world of jazz as in all other kinds of entertainment. First, there is the social devotee who spins his "sides" whenever the notion strikes his fancy. He has the discretion of selecting what he wants to play, when and for how long. His record collection is the bona fide guide to his personal taste in waxing pleasure. There is little room for pretense or pretext here. The social devotee shells out cash on the line for his records and each niche filled on his record shelf represents a corresponding void in his bank account.

On the other hand, there is the professional listener. He listens, literally, for years on end. At times it seems as though the mountain of music to be listened to is never-diminishing. His collection is multitudinous. It is comprised primarily of records he has had to play. Few of the dozens of records received regularly ever reach that special corner in the record library rcscrved for those albums one wants to listen to again, if ever that mountain diminishes!

As a jazz disc jockey for some several years, I suppose I have developed a tolerant ear of the professional listener. Occasionally, a musical unit along which has that spark of vitality and freshness, mixed with just the proper portion of talent and musical presence, to stand these rather blasé old ears on their ---s, to put it precisely.

The Ramsey Lewis Trio story is one of those made-in-Hollywood tales heard much too infrequently in real life. The three, healthy young men of the same environment decide to improve their lot through playing music. They band together and find that the trio has an unbelieveable, scintillating cohesion right off the bat. They receive influential backing from prominent entertainment leaders, and are booked into and play to SRO audiences in a sophisticated downtown nightclub. A record contract follows and their albums plummet them into the national spotlight. A successful trip around the jazz circuit and growing audience appeal firmly establish the trio as one of the jazz units which is here to stay in an era when groups crop up, blossom and die like an Ephemerida.

This album will give ample evidence of why the trio has continually renewved its lease on public appeal. All of the spontaneous, alive, animation which characterizes the Ramsey Lewis Trio is here faithfully reproduced. As you listen, note that accepted traditions in jazz serve only as guideposts for these three, adventuresome young musicians. Mood, rhythm, instrumentation, utilization of personnel are skillfully manipulated to show off the tune to its best advantage. The material recorded here is deliberately varied and comprehensive. This unit has no "groove" in which they are compelled to play. True, the one word most often associated with their efforts is "funky," this is a treatment rather than a restrictive style. The selections here range from showtunes to folk songs to gutty, earthy blues. Each tune is treated with its own special. portion of the Lewis magic; and becomes an infectious, delightful listening experience.

It is really no wonder that the Ramsey Lewis Trio is the mutual choice of both the social and the professional listener when one wishes to listen for sheer delightful enjoyment.

There must be one word of caution added. Much has been said of the carefree ease with which the unit rollicks through its chores. This is a deceptive ease acquired from mastery of their instrumnents and the material hand. At times, one is startled at the precision and unity of musical approach which marks their work. The interplay between instruments, the uncanny complimentary support, the deliberate dips into rhythmic variety; all indicate the self assurance and musical maturity which grows more evident with each recording.

This is their latest offering and by virture of the above stated reasoning, it must be conceded that this is their most challenging. They approached the task with responsibility, and the recording will undoubtedly find a haven in the preferred record nooks of listeners of all types.

LP-685

Ahmad Jamal's Alhambra

Released 1961

Recording and Session Information

Ahmad Jamal Trio
Ahmad Jamal, piano; Israel Crosby, bass; Vernel Fournier, drums
Live "The Alhambra", Chicago, IL, late June 1961

Full set list. Released as LP-685, LP-691 and LP-786
11092 Ahmad Jamal We kiss in the shadow
11093 Ahmad Jamal Sweet and lovely
11094 Ahmad Jamal The party's over
11095 Ahmad Jamal Love for sale
11096 Ahmad Jamal Snowfall
11097 Ahmad Jamal Broadway
11098 Ahmad Jamal Willow, weep for me
11099 Ahmad Jamal Autumn leaves
11100 Ahmad Jamal Isn't it romantic?
11101 Ahmad Jamal The breeze and I
11102 Ahmad Jamal You're blase
11103 Ahmad Jamal You go to my head
11104 Ahmad Jamal Desert sands
11105 Ahmad Jamal I get a kick out of you
11106 Ahmad Jamal All of you
11107 Ahmad Jamal Where or when
11108 Ahmad Jamal What is this thing called love? 11109 Ahmad Jamal Star eyes
11110 Ahmad Jamal Isn't is a lovely day
11111 Ahmad Jamal Don't worry 'bout me (unissued)
11112 Ahmad Jamal I can't get started
11113 Ahmad Jamal You're driving me crazy
11114 Ahmad Jamal Let's call it a day
11115 Ahmad Jamal Time on my hands
11116 Ahmad Jamal Angel eyes
Ahmad Jamal Medley: (unissued)
11117 Ahmad Jamal With the wind and the rain in your hair
11118 Ahmad Jamal You are my springtime
11119 Ahmad Jamal There is no greater love (unissued)
11120 Ahmad Jamal My heart stood still
Ahmad Jamal Poinciana (unissued)
Ahmad Jamal We kiss in a shadow (alt) (unissued)
Ahmad Jamal Stella by starlight (unissued)
Ahmad Jamal The lady is a tramp (unissued)

Track Listing

We Kiss In A Shadow	Rodgers, Hammerstein	June 1961
Sweet And Lovely	Charles N. Daniels, Arnheim, Tobias	June 1961
The Party's Over	Byrne, Comden, Green	June 1961
Love For Sale	Cole Porter	June 1961
Snow Fall	Thornhill	June 1961
Broadway	Woode, McRae	June 1961
Willow Weep For Me	Ronell	June 1961
Autumn Leaves	Prevert, Kosma	June 1961
Isn't It Romantic	Rodgers, Hart	June 1961
The Breeze And I	Stillman, Lecuona	June 1961

Liner Notes

ARTISTS are, by and large, a dreaming lot. Musicians are no exception; in fact, some of the world's most prolific jazz creators ply their melodic trade while envisioning castles rising high into the sky. It is the privilege of each of us to dream and dream and dream again. It falls the lot of a few of us to equip that dream with spurs of driving, realistic ambition and hardwork. And here, the sky watchers are sifted from those solid bricks, out of whom come the pillars of our society.

Reaching modestly for the sun, there stands on Chicago's once elegant Michigan Boulevard, a new structure ironically reminiscent of the old splendor. This edifice is more than a brick and mortar symbol; it is the gossamer culmination of a dream — a dream spun of webs of inspiration and talent, hung together by threads of disappointments and health-sapping devotion. Yet watching the slight, bearded owner walking with quiet pride throughout the elaborate room, one knows instantly that he is savoring the sweet smell of success, and triumph over strife.

Ahmad Jamal was at home regularly at the turn of the 5th decade. Crowds had not yet begun to for his tinkling, happy piano. He played infrequently in clubs. There stirring within him that frustrating, incomplete feeling of not knowing the total acceptance of the mass populace; yet, he was playing music and remaining at home (an ideal situation for the family man). All that was lacking was financial fruit and the broadened horizon. In the mid 50's "The Hit" was cut and with the subsequent popular demand, Jamal took to the road to become the itinerant musician.

To offset his longing for the warmth and security of his home in Chicago, travelling Jamal began spinning his dream. Cities and countries of the world began to fascinate him and he mentally catalogued the most appealing attributes of each. Of all the lands he visited, actually and vicariously, the far and middle east most impressed the pianist.

In 1960, Ahmad returned to the Windy City to begin the fulfillment of the dream. In 1961, the doors of Ahmad Jamal's Alhambra were opened to the public. Beautifully appointed, boasting a completely imported interior, continental cuisine; the club elegantly speaks of its eastern heritage. There was never a more receptive audience than the members of the press who came out that extra-warm summer afternoon to offer best wishes to the owner-musician.

It was natural and appropriate that the first musical attraction at the new Alhambra should be the Jamal Trio. It was also fitting that, during Jamal's stay there, this session should be cut. The warmth and communion of spirit which prevades throughout the club is reflected here in the harmony and togetherness of the unit. Actually, time and its passage may show that the flow of this unity went in the opposite direction. In other words, this closeknit unit might have instilled into the Alhambra a healthy shot of its own oneness. If this be true, Alhambra is extremely fortunate.

The tunes recorded here constitute music heard and enjoyed each night during the trio's engagement. Artistically, this is one of the best on-the-spot recordings the group has yet produced. All elements seemed to be right and at the right time.

We share with Jamal and Argo, extreme pleasure and pride in the production of this album which is a lanmark in the annals of jazz recording. A prominent jazz artist of national and international acclaim sits at his own piano in his own club and plays own groove; and he records the event proudly for all posterity. We doff our hat to Ahmad at the Alhambra.

Sid McCoy

LP-684

The Jazztet and John Lewis

Released 1961

Recording and Session Information

Art Farmer/Benny Golson Jazztet & John Lewis
Art Farmer, trumpet; Tom McIntosh, trombone; Benny Golson, tenor saxophone; Cedar Walton, piano; Tommy Williams, bass; Albert "Tootie" Heath, drums
New York, December 20-21, 1960 & January 9, 1961

10626 Django
10627 Milano
10628 Bel
10629 Two degrees east, three degrees west
10630 New York 19
10631 Odds against tomorrow

Track Listing

Bel	John Lewis	December 20/21 1960, January 9 1961
Milano	John Lewis	December 20/21 1960, January 9 1961
Django	John Lewis	December 20/21 1960, January 9 1961
New York 19	John Lewis	December 20/21 1960, January 9 1961
2 Degrees East, 3 Degrees West	John Lewis	December 20/21 1960, January 9 1961
Odds Against Tomorrow	John Lewis	December 20/21 1960, January 9 1961

Liner Notes

The idea of John Lewis writing for the Jazztet seems, at first blush, an improbable one.

Lewis' jazz writing in recent years has been confined largely to the Modern Jazz Quartet, of which group he is pianist and musical director. His other work — movie scores and similar large-orchestra music — has required a different palette than that available in small jazz groups.

The Jazztet, furthermore, is utterly unlike the MJQ in instrumentation, conception, and flavor. The MJQ is based on two percussion-melody instruments, vibraharp and piano, which dictates one kind of sound. The Jazztet is based on three horns — trumpet, tenor saxophone, and trombone — which dictates a vastly different one.

The one area of similarity between the two groups would appear to present a danger, rather than an advantage: both are integrated, controlled units whose music has sometimes tended to the conservative. They stand at the other end of the pole from all the tiresome freeblowing groups of today.

But what would happen when you put the conservative John Lewis together with the Jazztet? I must confess that when Art Farmer mentioned that John Lewis was writing album for the group, I had reservations. I feared the collaboration would produce some sort of apotheosis of gentlemanly reserve. Control there would surely be. But spontaneity and fire?

It gives me considerable pleasure to discover that my fears were groundless. For the John Lewis Album is, I feel, far and away the best, the freest, and the gutsiest album the Jazztet has yet made.

It came about in this way:

One evening early in 1961, Lewis went to the Village Gate in New York, where the Jazztet was working. He was asked to write an arrangement for the group. He pondered it during the course of the evening, no doubt in that quietly preoccupied way of his, and then told Benny Golson and Art Farmer that he'd rather write a whole album.

The scores were not long arriving. Lewis delivered the first of them while the group was still at the Village Gate, and had completed the remainder within a month. And yet you will find no hint of haste in them, They are beautifully-wrought pieces of jazz writing, with everything in its place — and they are full of fire.

"Benny and I have always had a great deal of respect for John's writing," Art said. "But I was surprised and delighted when wc got the scores."

"I'm intrigued by the way John reworks his material over the years, as Duke Ellington and Thelonious Monk do. John will take something he wrote some time ago and do something completely different with it. Django is an example."

It is a particularly interesting example. If you know the MJQ's original version of it, you'll probably be shocked by this one, at first. The original is slow and delicate and poignantly lyrical; from the first measures of this version, you know it's a cooker. "In fact," Benny said. "the first time we played it, we thought we had it wrong. We asked John 'Is this really the tempo you want? He said, 'That's right.'"

2 Degrees East, 3 Degrees West, on the other hand, is fairly similar to the original except for the instrumentation. The other works in this set will be found to resemble the originals in varying degrees — though always the basic color is different. Bel is a new work: Lewis wrote it especially for this album.

If I may venture a personal comment (and I'd rather make it clear that it's personal, since have a growing distaste for those who try to pass off their personal observations as esthetic absolutes that they could prove to be objective realities, if only they could the right logarithmic tables), I think this album is the most moving and satisfying - in fact, exciting — piece of jazz writing that John Lewis has done in years.

Note how skillfully he will use horns behind soloists; note how nicely the lines of ensemble passages fit together; note particularly how he gets a sound much larger than the instrumentation, which is always the mark of the gifted and developed writer. While we're at it, note also the humor of which Lewis is capable, particularly in the opening track.

This album ends up being a sort of mutual showcase: the Jazztet sets a facet of Lewis' ability (after all, he was once arranger for Dizzy Gillespie's bis band) that some of us had tended to forget; and Lewis' writing in turn sets off facets ot the Jazztet's ability that many persons may previiously have been unaware of.

Certainly the group is in prime form.

In Tom Williams and Albert Heath, it has a rhythm team that works in powerful, comfortable tandem. In Cedar Walton, it has a pianist of feeling coupled with technical resourcefulness. There is no need to say to him, "Yeah, but what he was thinking is what matters." What Walton thinks, he executes and you hear.

Trombonist McIntosh is the third member of the horn team that constitutes the Jazztet's front line. A talented arranger himself he is revealed in this album to have the ability, both as soloist and ensemble player, that Art and Benny thought he had when they asked him to join the group.

As for Art and Benny themselves, it seems to me that they have found the freedom and individual expression they were looking for when they formed the Jazztet.

Reviewing a Golson album (Take a Number from 1 to 10; Argo 681) in a recent issue of Down Beat, critic John S. Wilson said of Benny, "His warm, gentle, lyrical playing...has been fairly well established for some time. What is relatively new is what appears to be some resolution of the grappling Golson has been going through to find a proper expression of himself at fast tempos. He appears to have cleared away the streaming runs that he contended with for quite a while, and now has a lean attack at up tempos that is attractively propulsive and is much more to the point than his earlier work was."

You'Il note this greater economy in Benny's playing, and the consequent increased clarity of his lines, in his fiery solo on Django.

Reviewing an Art Farmer record (Art; Argo 678) recently, Ira Gitler wrote, "Farmer is a mature, personal, sensitive lyrical trumpet artist. His sound, delicate and strong simultaneously, is integrated perfectly with the beautifully phrased content of his playing."

I would add to that the observation that Art has become increasingly individual in recent years. Whatever the tempo, there is a sort of smoked quality to his tone that reminds me, curiously enough, of Lawrence Brown's trombone. Thoughtful without being a navel-gazer, Art manages to bring the sensitive inner man out to the light of day.

The idea behind the Jazztet was to achieve organization and spontaneity at the same time.

I feel that this is urgently necessary if jazz is to retain its appeal to the public — and jazz must retain appeal if it is to survive and flourish, since jazz, unlike classical music, is not a subsidized art; it has to pay its own way or starve to death.

It seems to me that the time is fast approaching when the public will weary of 190 choruses of tenor solo followed by an equally interminable trumpet solo, all of it framed between ensemble passages that are nothing more than fore-and-aft unison statements of the melody. That is why there must be thought-out shiftings of voicing and coloration within a given piece. And that means writing.

At the same time, writing that stifled the extemporaneous spark that is the essence of jazz, would be disastrous. The Jazztet, I believe, is finding the necessary delicate balance between the two. The group's growing pains are over and, because of the balance it is achieving, it has genuine significance. It is to be hoped that other groups will get the message.

Never has the group seemed more appealing than in this set of compositions and arrangements by John Lewis. I have no hesitancy in commending it to you. It knocked me out.

Gene Lees